This day shall forever be known as America’s Comedy Birthday. Not only did we get the awesome first trailer for Anchorman 2 this morning, but now we have confirmation that another long-awaited comedy sequel is finally moving forward! After over a year of will-they-won’t-they style wavering, Dumb and Dumber To is a go! The Farrelly Brothers announced that Universal will produce and provide the funding for the film, which may start shooting as early as this fall. The best news? Jim Carrey, who previously dropped out of the project, is definitely back in! For now, at least. Jeff Daniels will also reprise his role from the original film, as will Harland Williams. If all goes according to plan, you’ll be able to see Dumb and Dumber To in theaters next summer.
Fun fact: Michael Bay has only had two films reach above a 50% rating on Rotten Tomatoes. But when it comes to giant action flicks, there’s nobody….not better…what’s the word I’m looking for? Let’s go with “Explodier.” That’s why Bay is working with Ubisoft and Warner Bros. to develop a movie adaptation of the Ghost Recon video game. The director, who is currently working on Transformers 4 , may or may not direct the film. That all depends on what direction the screenwriter–yet to be found–decides to go with the project. Two other Ubisoft properties, Assassin’s Creed and Splinter Cell , are also in development as feature films at the moment. Who would your ideal director be for the Ghost Recon movie ?
Talk about a random encounter… Watching Movies With The Sound Off is shaping up to be much more than an oddly titled album. After delivering a few quality singles from the project, Mac Miller debuts his highly anticipated collaboration, “Suplexes Inside Of Complexes and Duplexes.” This track finds the Pittsburgh MC spitting alongside the one and only Jay Electronica. How Miller managed to get a verse from the “Exhibit C” rapper is beyond us. – See more at: Hip Hop Wired Image via XXL Continue reading →
Talk about a random encounter… Watching Movies With The Sound Off is shaping up to be much more than an oddly titled album. After delivering a few quality singles from the project, Mac Miller debuts his highly anticipated collaboration, “Suplexes Inside Of Complexes and Duplexes.” This track finds the Pittsburgh MC spitting alongside the one and only Jay Electronica. How Miller managed to get a verse from the “Exhibit C” rapper is beyond us. – See more at: Hip Hop Wired Image via XXL Continue reading →
Seems like every time we look up there is another negative story about a deadbeat black daddy , finally here’s a positive one instead! Ebony.com is showcasing an incredible documentary by music exec Kobie Brown that helps to reinforce some great examples of Fatherhood in our community. Check out the first part below, which features the entrepreneurs behind Miss Jessie’s. Here’s what producer Kobie Brown had to say about the project: “More often than not examples of high quality manhood, fatherhood and loving relationships are not illustrated, talked about or shown such that we can recognize them when we see them. I’ve created this project in an attempt to provide those examples and deliver a different kind of reality; one that has the ability to transform us all.” – Kobie Brown Major props to Kobie for putting this important project together — it will also be airing in it’s entirety on ASPIRE later this month. Check out the trailer and more info below: Kobie Brown (@kobiechronicles) is a music executive and filmmaker. His documentary, From Fatherless to Fatherhood, premieres Sunday, June 16th at 8p ET on ASPIRE TV. Please visit http://www.aspire.tv for additional broadcast dates and times.
With Born Sinner set to release in a few weeks, J. Cole liberates a monstrous collaboration with TLC called “Crooked Smile.” This is one of the highly-anticipated tracks on Roc Nation artist’s sophomore effort, which will don limited features. In fact, the “Power Trip” rapper said no rappers appear on the project…. Continue Continue reading →
‘I’m talented, and Birdman lets me do whatever I wanna do, so I’m putting that album,’ Wayne says of his project full of love songs. By Nadeska Alexis, with reporting by Sway Calloway Lil Wayne Photo: MTV News
Robert Downey, Jr. is developing a Pinocchio movie with Warner Bros., and he is considering Ben Stiller to direct. Downey Jr., who may retire from Iron Man after tomorrow’s Iron Man 3 , originally spoke with Tim Burton to direct, but in a recent interview suggested that he could reunite with his Tropic Thunder director for the project. Downey Jr. would play Geppetto in the live-action film, which he would produce along with his wife Susan Downey. Little else is known about the Pinocchio project regarding story, tone, or schedule.
The third time is neither a particular charm nor the kiss of death for Marvel Studios ’ robust Iron Man series, which has changed studios (from Paramount to Disney) and directors ( Shane Black subbing for Jon Favreau ) but otherwise toyed little with the formula that has so far generated more than $1.2 billion in global ticket sales. The inevitable franchise fatigue ― plus a markedly unmemorable villain ― may account for the feeling that Iron Man 3 is more perfunctory and workmanlike than its two predecessors, but this solid production still delivers more than enough of what fans expect to earn its weight in box office metal. Part of the rich appeal of the first Iron Man (2008) came from the inspired casting of Robert Downey Jr . , who brought loads of impish charisma and insouciance to the part of defense contractor turned iron-plated superhero Tony Stark . It was particularly fun to watch Downey becoming Iron Man, bobbing and weaving about in his space-age rocket suit like a novice surfer trying to stand up on a wave. You can only do an origin story once, alas, and some of the magic was already gone from 2010’s Iron Man 2 , which pitted our hero against a stock Russian heavy ( Mickey Rourke ) in a standard-issue revenge narrative, but still found ample time for Stark and romantic foil Pepper Potts ( Gwyneth Paltrow ) to do their very passable Tracy-Hepburn routine . There was also a sly running commentary on the celebrification of American culture ― and, in Stark’s effort to rid himself of the shrapnel slowly poisoning his body, a deft analog for Downey’s own widely publicized battle with various forms of addiction. Most of that is absent at the start of Iron Man 3 , which finds Stark in fine physical shape ― if a bit mentally unhinged from the events of The Avengers ― and living in relative domestic bliss with the comely Ms. Potts. All of which leaves little for Black (and co-screenwriter Drew Pearce ) to do other than summon up the latest villain from the Marvel dugout: A bearded, bin Laden-esque baddie who calls himself the Mandarin ( Ben Kingsley ) and who claims credit for a series of terror bombings, one of which, a frightening attack in front of Hollywood’s historic Chinese Theatre, has landed Stark security honcho Happy (Favreau) in a coma. (Although clearly unintentional, the movie’s recurring images of severed limbs and burning bodies can’t help but strike a queasy note in light of the recent events in Boston.) Spewing his boilerplate anti-American rhetoric in a series of crudely made videos that mysteriously jam the television airwaves, the Mandarin promises that “the big one is coming,” just in time for Christmas no less. If we’ve learned anything from fantasy villains ranging from Darth Vader to the Dark Knight trilogy’s Ra’s al Ghul , first appearances can be deceiving. Suffice to say that the Mandarin is in some kind of cahoots with a couple of blasts from Tony Stark’s past: an experimental botanist ( Rebecca Hall ) and her wealthy benefactor, Aldrich Killian ( Guy Pearce ), whose prize project, Extremis , involves “hacking” into the human DNA chain to cure the sick, heal the lame and pretty much do anything else you might desire. Upon hearing Killian’s pitch, Pepper notes that the technology sounds like it could easily be weaponized. She doesn’t know the half of it. As an A-list screenwriter in the ’80s and ’90s, Black practically defined a certain brand of sardonic Hollywood action spectacle (his credits include Lethal Weapon, The Last Boy Scout and The Long Kiss Goodnight ), then disappeared for most of the 2000s, surfacing briefly in 2005 with his directorial debut, the self-referential neo-noir Kiss Kiss Bang Bang (which featured Downey in a crucial comeback role). Iron Man 3 reps a huge step up in terms of scale, and Black largely acquits himself well, keeping the pace brisk, deploying a couple of modest surprises and staging a few undeniably impressive, super-sized setpieces. Among them: an end-of-first-act raid that reduces Stark’s swank Malibu pad to smithereens, and a mid-film, mid-air rescue that draws upon some truly spectacular skydiving acrobatics. The entire package is never less than professional, enhanced by ace tech contributions from cinematographer John Toll, production designer Bill Brzeski (replacing the late J. Michael Riva) and editors Peter Ford and Jeffrey S. Elliot. Yet the movie suffers from separating Downey from three of his best verbal sparring partners ― Favreau, Paltrow and Paul Bettany (as the voice of the uber-computer Jarvis) ― for much of the pic’s running time. And from top to bottom, Favreau’s handcrafted touch is conspicuously absent, particularly his affection for retro, Ray Harryhausen-esque visual effects. (This is by far the most digital-looking series entry.) Perhaps fittingly for a movie that introduces a new generation of remote-guided Iron Man suits, Iron Man 3 all too often feels as if it were assembled by a machine. Though advertised as Iron Man 3 in all promotional materials, the pic’s full onscreen title reads as Iron Man Three .
